In addition to serving up heaping helpings of suspense and action, “Fuze” abounds in twists.

Mufasa never quite bursts free of the constraints placed upon it, but those constraints never stop it from moving, or from being moving. It has a signature, rendered with a steady hand.

The uncanny confidence of Dick Gregory comes through from the opening minutes of The One and Only Dick Gregory, and he only becomes more formidable as the film unfolds.

When The Woman King works, it’s majestic.

It is that very lack of objectivity that makes Strong Island the experience that it is. It is a very tough film to shake.

In focusing on the years when the band became the first ever to mount several world-spanning tours, it offers two things at once: a history of the Beatles during the years of their initial success; and a tribute to the group’s powers as a live act.

There are dozens of carefully observed and touching moments in “Daughters,” which won both the Documentary Audience Award and the Festival Favorite Award at Sundance.

This isn’t a film that makes a big deal of its contemporary authenticity; it wears its carefully measured elements lightly, the better to shine a light on its intriguing characters.

This one has familiar beats but appealing performers, better dialogue, and more depth of character than many more formulaic movie romances.

Incredibles 2 understands something that most family sequels, even the Pixar ones, fail to comprehend—we don’t just want to repeat something we loved before. We want to love it all over again. You will with Incredibles 2.

Needless to say, the whole film rests on June Squibb's shoulders. She brings to the part 78 years of acting experience, which is a joy to watch.

I was riveted by every moment of this haunting weird film. Enys Men made me legitimately uneasy.

The movie makes canny use of non-linear editing, moving backwards and forwards with engaging fluidity, and it keeps this up throughout.

Is the human brain built to absorb so much of "the world"? How do we filter anything? Matt Wolf's new documentary, Recorder: The Marion Stokes Project, is an interesting meditation on these ideas, as well as a character study of a fascinating news-junkie with a mission.

Olympia has the usual biographical documentary structure, though it's a bit of a hodge-podge, following Dukakis to a festival, a rehearsal, awards events, at home, intercut with archival footage and comments from friends, colleagues, and family.

Huesera doesn’t necessarily re-invent either of those subgenres. But it does present them in a vessel that’s so artfully crafted, and filled with details that bring the characters and their relationships to such vivid life, that it accomplishes a lofty goal for genre cinema: Taking a familiar formula and turning it into a personal statement.

The extremes uncovered in this film become revealing of what we accept as necessary, in what we as a nation rationalize as justice even without procedure. It is eye-opening, and yet also like Gibney’s best work, affirming in the worst ways.

What makes it special is that it truly cares about the nuts and bolts of marrying pictures to music and understands how to explain the finer points to people who aren’t musicians.

Built on a foundation of comedy that comes from the silent era, “Vengeance Most Fowl” is just beautifully structured, a perfect rhythm of plotting and humor that works for all ages.

If watching a low-key portrait of a person struggling through a personal crisis with a refreshing lack of cheap melodrama sounds intriguing, well, that's exactly what director Kazik Radwanski has delivered with undeniably compelling results.

This is a project for and by those who have experienced inhumanity firsthand yet refuse to have their voices snuffed out by a corrupt institution.

One of the most impressive elements of Kubo and the Two Strings — besides its dazzling stop-motion animation, its powerful performances and its transporting score — is the amount of credit it gives its audience, particularly its younger viewers.

Good Bad Things is an intimate, small story about the gigantic issue that challenges and terrifies us all: the collision between the desperate need to be seen and loved and the fear that what people might see will repel rather than attract them.

Mission: Impossible – Dead Reckoning Part One is just incredibly fun. It feels half its length and contains enough memorable action sequences for some entire franchises.

It really is quite a movie: entertaining and engaging, but also mortifying; a good alternate title might be "American Horror Story."

The ignorant and deeply painful misrepresentation of [Davidson's] condition at the BAFTAs shows just how much this film will do to make all of us think twice before judging someone.

Riotsville, U.S.A. is certainly not an objective documentary. It’s angry and it dares the viewer to argue back. The freeform nature of it may seem faulty, but I felt it served the purpose of forcing me to interrogate what I was being shown.

The film weaves a spell with its rhythms, sometimes slow, sometimes fast, all accompanied by a vivid and haunting sound design.